Author: Derrick Murray

Every time I’m forced to interact with some kind of AI, I die a little inside. It is a technology forced upon us whether we want it or not, and outside of living off the grid completely, it has already become ubiquitous in both our personal and professional lives. Enter “Good Luck, Have Fun, Don’t Die,” a blunt force satire that extends Gore Verbinski’s ire beyond AI and includes pretty much all existing technology in his 10 year absence from Hollywood. What transpires is a deeply weird film that spouts its anger so directly and is so sprawling it becomes more “old…

In the age of AI slop and relentless streaming fodder, we’re often left saying things like “they just don’t make ’em like they used to!” A longing nostalgia for a simpler time when movies were just that – movies – meant to entertain and stay in their genre lane with no franchise IP being its only reason for existing. An ode to a bygone era almost to a fault, “Crime 101” is tried and true throwback crime thriller that channels the greats of Michael Mann and mid 90s cinema. That said, it sticks too close to its inspirations to stand…

“Undertone” is the scariest movie you will ever hear, viscerally overloading your eardrums with haunts that are sure to keep you up at night and evoke a physical reaction when you hear it again.

…a truly profound film and combined with its beautiful imagery, magnificent score and assured direction, “If I Go Will They Miss Me” is the first great film of the year.

After 10 days of movies, the Sundance Film Festival celebrates its final year in Park City, Utah. A bittersweet event, the longing memories of veteran festival goers was palpable. Many people traveled to venues they’ve been going to for decades for the final time, and it truly felt like a final farewell to a cherished and beloved event, one that bought so many people together and has solidified itself as an amplifier of independent cinema. Sundance moves to Boulder, CO to begin a new era of film and festival life next year. Only time will tell what the new city…

“The AI Doc: Or How I Became an Apocaloptimist” is one of the best documentaries at Sundance and an absolute must see for everyone. It timely, urgent, and funny all in equal measure and is impossible to come away from without some kind of impact.

A deeply unserious and cartoonishly satirical sledgehammer to the art world filled with over the top characters, campy dialogue, hyper stylized camera work and a largely single setting location.

“Shitheads” is at its best when it is pushing the limits and not as concerned about what it all means, letting his cast have as much fun with the material and characters as they possibly can and more than willing to accept any and all ideas.

It’s biting wit and sharp criticisms of expression and art help to elevate it all above the early 2000s Skinemax framework, letting it’s freak flag fly while delivering plenty of comedy and backdoor-ing (pun intended) its themes in the process.

There’s nothing quite like seeing a premiere on a festival midnight slate. The crowd is hype and electric, bursting with laughs and cheers and hollers – and that’s all before the title card even drops. “Buddy” benefits greatly from this kind of ruckus crowd, the energy fueling its overall enjoyment and at times picking up some slack for what the film lacks overall. It’s a whole lot of ideas that choose psychotic execution over fleshed out conclusions, leaving a bit of a mixed bag that rests on the laurels of a hyped crowd and major vibes check. And honestly, that’s…